The Scottish poet Gavin Turnbull (1765-1816), a younger contemporary of Robert Burns, published two books of poetry in Scotland before emigrating to America in 1795, where he contributed poetry to South Carolina newspapers.The Collected Poems of Gavin Turnbull presents the first-ever full collection of Turnbull’s writings.

Turnbull, born in the Scottish Borders, started writing poetry as a teenage carpet-weaver in Kilmarnock, Ayrshire, in the 1780s. He published his first book, Poetical Essays, in 1788, followed by Poems in 1794, when he was an actor with a theatre company in Dumfries. In 1795, he emigrated to the United States, settling in Charleston, South Carolina, where he continued to act and write poetry, publishing not only in Charleston but also in the prestigious Philadelphia magazine Port Folio. He became a U.S. citizen in 1813 and died in Charleston in 1816. While he twice issued proposals for a new collection of his writings, and a further invitation to subscribers was published after his death, no collection ever appeared. Only a handful of his earlier poems have been available in anthologies or online, and his Charleston poems have never previously been collected.

The Collected Poems of Gavin Turnbull contains 89 individual poems and songs, organized according to the date of their first publication. The poems are grouped into one of four sections, following the sequence of the books, manuscript, or periodicals in which they are first found. Turnbull’s two prose prefaces to the poetry (1788, 1794) and his short play The Recruit (also 1794) are included, but placed last, after the poems, as appendices. A list of the individual poems and songs in each section and links to the texts are available in the gray drop-down menu on the left-hand side of the screen. With the few exceptions noted below, this edition only includes each poem once, under the date of its first appearance, and poems that Turnbull subsequently reprinted are not repeated in the later section(s).

This edition aims to reproduce Turnbull’s texts as they were encountered by their first readers. The text used is therefore taken from the first published version, and where a poem was printed two or more times, the earliest text is used, though any substantive differences between early and later texts are fully noted. The one exception to this general policy is for Turnbull’s poem “The Cottage,” first published in 1788 with four stanzas, for which the edition uses Turnbull’s expanded version with a fifth, more political stanza, from the 1794 collection, also subsequently reprinted in a Charleston newspaper.

The first section contains 50 poems and songs, all probably written while he was still living in Kilmarnock, and published in Turnbull’s first book, Poetical Essays (1788), published by subscription and appearing with the imprint of a Glasgow bookseller. The next short section prints three of Turnbull’s songs which Robert Burns forwarded in a manuscript letter by Robert Burns to George Thomson (October 29, 1793) for possible inclusion in Thomson’s Select Collection of Original Scottish Songs. The second major section contains the twelve poems or songs that were first published in Turnbull’s second volume, Poems, printed in Dumfries in 1794. As noted above, Turnbull’s play, The Recruit, which had been included in the 1794 volume, is placed separately with the “Appendices.”

After he emigrated to Charleston, South Carolina, Turnbull’s contributions to local newspapers included reprinting some earlier poems, as well as newly-written items. The third major section of the edition contains twenty-five poems, ranging in date from 1796 to 1809. Of the twenty-five, twenty-one are items that Turnbull had never previously published; the four reprinted items are the four songs that Turnbull himself extracted from his play The Recruit for separate newspaper publication, and which are therefore given similar separate status here. Though he also wrote an ode to General Washington, both in the theatre, where he appeared in such Scottish plays as Ramsay’s The Gentle Shepherd and Home’s Douglas, and in the poetry he published, Turnbull continued after emigration to identify himself as a Scot.

The online edition of The Collected Poems of Gavin Turnbull allows for fuller annotation than will be provided in the planned print edition, especially in glossing words that might cause difficulties for students outside of Scotland, as well as linking to related material, such as contemporary images and music, where Turnbull often specifies the tune to which he has written new song-text. The first note on each text records its publication history, both first publication and any reprinting in Turnbull’s lifetime. The first note may also contain general background information relevant to the poem. Subsequent notes linked to specific lines gloss difficult or distinctive words, suggest literary sources or allusions, and provide historical or background information. Turnbull’s own footnotes to some of the poems, in Poetical Essays (1788) and Poems (1794), have been included but are placed in square brackets, and introduced as “GT’s note,” to differentiate them from the editors’ notes. The annotations are numbered sequentially rather than by line number and can be accessed in one of two ways. The user can move the cursor over a superscript number in the body of the text, so that a dialogue box will appear with the annotation alongside the line it is explaining, or the user can scroll down the poem and find the relevant numbered annotation where the notes are grouped together in sequence at the end of the text.

The texts and annotation are supplemented by Patrick Scott’s introductory essay on Turnbull’s life and writings and by a reference bibliography. All text files have been marked-up and prepared in accordance with TEI P5 guidelines—the standard XML language in the humanities—to allow for greater interoperability, both in this edition and future projects. Work on the edition was supported by an ASPIRE grant from the Vice-President for Research, University of South Carolina. The online edition is complete in itself, but Patrick Scott’s selection, A Bard Unkend: Selected Poems in the Scottish Dialect by Gavin Turnbull (Scottish Poetry Reprints no. 10, 2015), is also available, as a print-on-demand paperback and on-line, and a parallel print edition is under consideration.

In fall 2014, Dermot Ryan—an associate professor in the Department of English at Loyola Marymount University—and Melanie Hubbard—the university’s digital scholarship librarian—designed and taught The Digital Eighteenth Century, a class which culminated in the creation of a digital space that showcases the digital projects students completed over the course of the semester. You can find a video introduction to our class and the various student digital projects at [email protected].

Our concept for the class was simple: students would better grasp the literature and culture of the eighteenth century by drawing connections between the eighteenth-century print revolution and aspects of the current digital communications revolution. The incorporation of digital tools and assignments was intended to illustrate and provide hands-on experience with this technological shift as well as give students a new way into the study and presentation of eighteenth-century cultural materials.

The assignments were fairly basic. Students used the Eighteenth Century Collections Online (ECCO) database not simply to locate specific texts but rather to answer basic research questions. How many titles containing the adjective “lyrical” appear before the 1798 publication of Lyrical Ballads? Can we trace any other literature on children chimney sweepers before William Blake’s poem on the subject? Can we locate sources for the figure of the hermit in Charlotte Smith’s poem Beachy Head? Students used TimeMapper to track the development of eighteenth-century literary or cultural events across space as well as time (see example). Poetry Genius, an online annotation tool, was used to become more familiar with eighteenth-century poetry (see example). Students brought eighteenth-century visual and literary culture together by creating digital essays in Tumblr (see example). Because their work would be public, students were required to keep their audience in mind and ask themselves the following types of questions: What helps me understand the literature and cultural artifacts that we are studying in this class? How do I present these materials in a manner that a broader audience would find accessible and compelling?

The students’ projects are now part of [email protected], a site that Melanie created to be a hub for LMU’s current and future DH projects. In a sense, The Digital Eighteenth Century was our practical response to a series of interrelated challenges that many of our colleagues face: How do you foster digital humanities at a university that is largely focused on undergraduate education and has many of the trademarks of a liberal arts college? How do you get from zero with little or no resources and a minimum of institutional support? How do you do that when you yourself have had little or no institutional exposure to professional training in the tools, practices, and methods of DH?

We discussed our experience of designing and teaching this course at the 2014 Digital Scholarship Colloquium organized by the Freedman Center for Digital Scholarship at Case Western Reserve University’s Kelvin Smith Library. Our presentation entitled “The Promise of Digital (Undergraduate) Research: A Perspective from a Liberal Arts College” is available for viewing. In this presentation we explain that our discussions about DH began with our desire to engage more humanities students in undergraduate research (UR). We speculated that DH could help us overcome some of the difficulties with sustaining UR culture in the humanities. Such difficulties include:

Research in the humanities tends to be non-collaborative.

UR in the humanities has traditionally involved student-led initiatives with students working on topics related only tangentially to a faculty member’s own research.

Research in the humanities cannot be easily “segmented” into manageable units for undergraduate researchers.

There is a high threshold to entry into humanities research.

There is no incentive: in universities that do not have large Ph.D. or postdoctoral programs, the sciences “need” undergraduates to conduct research; conversely, UR potentially distracts humanist scholars from their research.

Ways in which we feel DH can potentially address these challenges include:

DH can challenge the canard that research in the humanities is inherently non-collaborative.

Research projects in DH can be parsed into manageable units.

DH can allow us to generate online research projects that allow for ongoing student/faculty collaboration while contributing to faculty scholarship, rather than diverting attention from faculty research.

The eighteenth century is a particularly rich time period for these kinds of faculty and student collaborations not only because eighteenth-century print culture with its focus on social networking and media storms bears some striking resemblances to our particular moment but also because there are a number of rich online eighteenth-century resources, like ECCO, on which our students can draw.

What do Red Jacket, Pompey Fleet, James Macpherson, Mary Washington, and Geoffrey Chaucer have in common? They all are depicted in, influences for, or creators of the 300 broadside ballads Isaiah Thomas (1749-1831) collected from Boston printer Nathaniel Coverly in 1814. Mostly printed in Coverly’s shop between 1812 and 1814, these ballads offer a window into street life in the early United States, with an eye toward the future but with a preoccupation with the past. Thomas coined the phrase “verses in vogue with the vulgar” to describe this collection that he had bound in three volumes and that are some of the American Antiquarian Society’s earliest holdings.

In the spirit of AAS’s rich tradition of deep cataloging, extensive subject headings are provided for each broadside, and these subject headings can all be searched. This index of topics covered in the ballads allows a user to group the ballads thematically in a way analogous to chapters in a book. For example, by clicking on “Adultery” one can see that two broadsides include ballads on this subject: “Penny-Worth of Wit” and “The Country ’Squire.” Note too that the subject headings appear at the bottom of the page. By clicking on “children,” one can see the 10 total items that include this subject heading as well. Any combination of search results can be exported by the user in a number of machine-readable formats. Additional mechanisms are also in place to illuminate the relationality of the broadsides. For example, most individual essays make reference to other ballads that share a tune or perhaps a thematic link. In addition, the woodcuts that appear on multiple broadsides can be traced.

Longitude was a hot topic in eighteenth-century Britain. What we might perceive now as a niche, and perhaps rather uninteresting, navigational problem, was then crucial to finding a means of accurately measuring longitude at sea as Britain’s trade and naval aspirations expanded. Supported by very large award monies from the government, the search for a solution became a subject of national discussion, ridicule, and social relevance appearing in every conceivable type of source from newspapers and novels to prints and paintings.

My research looks at that plethora of paper materials, which had to be navigated on land by any person putting forward a potential solution, before it would ever be trialed at sea. The questions, conversations, jokes, diagrams, and drawings in which Georgian men and women referenced longitude become visible in precisely the sorts of digital databases and collections that The 18th-Century Common seeks to showcase. It is the ability to search these sets of materials that makes visible the kinds of throwaway references to longitude that would otherwise be almost impossible to locate, stimulating further research in physical collections.

Digital resources, furthermore, allow us to begin to reconstruct the patterns of production as well as the use and reference in texts and images that physical collections can obscure. My recent project with the Paul Mellon Centre’s innovative online journal, British Art Studies, has begun to think about what possibilities this might offer. “Looking for the Longitude” brings together a series of images and commentaries to consider how people experienced the longitude debate in eighteenth-century London, using as a starting point an engraving from William Hogarth’s famous series, A Rake’s Progress. A pirate version of the image, done from the copyist’s memory of the original painting in Hogarth’s studio, offers the opportunity to examine what the copyist remembered and altered. Marshaling a selection of texts and images that circulated at the time serves to show how such materials would have affected what this copyist, and other viewers, saw in Hogarth’s engraving. It allows us to construct a period eye.

This was also a particularly London story, however, tied to a group of metropolitan locations that shaped production and consumption of text and image. Each of my longitude images is therefore located on an interactive map and enhanced by commentary from a group of expert contributors, ranging across histories of art and science. They consider the significance of the urban setting, bringing into play a further circle of materials and texts. Over the course of 11 days in June 2016, these appeared as part of a daily Twitter tour that you could, and still can, follow around the British capital.

My hope is that this digital project serves to reconstruct a sense of the rapid production and discussion, the buzz and fervor, that surrounded the longitude problem in the eighteenth century; and that in combining digital collections with digital publishing it makes the case for what such platforms can achieve.

Directed by Dr. Hamish Mathison and researched by Dr. Adam James Smith, the anthology was born of an AHRC-funded cultural engagement project focusing on the full collections of The Sheffield Register (1787-1794) and The Sheffield Iris (1794-1825), newspapers held in University Library Special Collections. The Register was edited by Joseph Gales, the Iris by Sheffield’s legendary poet and prolific champion of cause, James Montgomery.

Writing under the close scrutiny of suspicious local authorities both the Register and the Iris presented their most controversial material in a section referred to affectionately by readers as “Poetry Corner.” This section saw the publication of a different poem each week (either written by a Sheffield resident or aggregated from elsewhere) but usually addressed to one of a series of recurrent themes: religious integration, racial equality, worker’s rights, universal access to education, and political enfranchisement for all.

An overarching concern was that if the government could not legally be criticized, then there remained no safe-guard against tyranny. As one reader’s poem warned in April 1793, this seemed to be increasingly the case:

We may speak (it is true) if we mind what we say;

But to speak all we think, will not suit in our day.

These lines proved prophetic, with the Register coming to an abrupt close a few months later. Charged with “conspiracy against the government,” Gales was forced to abandon the paper to start a new life in America as a fugitive.

The Sheffield: Print, Protest Poetry, 1790-1810 project has been releasing a different poem every week, and online readers have been surprised and excited by how prescient they have proved. One poem titled “On the Effects of Gold” warned that political reform was never likely whilst politicians were more interested in lining their own pockets. This poem was made live on the Sheffield: Print, Protest Poetry, 1790-1810 website the day before the Panama Papers story broke.

In 2015 I wrote a Features post for The 18th-Century Common because I will never pass up an opportunity to tell the world about James Bruce, the verbose Scottish explorer who traveled to Abyssinia in the 1760s in search of the source of the Nile. But beyond the instant satisfaction of sharing something I find fascinating, contributing to a public humanities website turned out to be worthwhile for other reasons:

It was an opportunity to practice translating my research. In Fall 2015 I was on the job market, faced with the tasks of describing what I study to people outside my field, articulating how I make it interesting and relevant in undergraduate classes, and advocating for its intellectual and social impact. Reworking even a small piece of my project for a public audience helped me start developing language and examples to communicate its exigency.

It was a quick and open-access way for people to see what I do. I sent the link to people outside the academy who have been resources for me, and to friends and family who wanted to know more about what I study. It came up when search committees looked me up online. Students in the department that I will be joining in the fall read it, and they asked me questions about it during my campus visit.

Readers of early British poetry and early women writers will soon be able to discover all of Anne Finch’s poems and plays in the first scholarly edition of her work: The Cambridge Edition of the Works of Anne Finch, Countess of Winchilsea, general editor, Jennifer Keith: Volume 1: Early Manuscript Books, edited by Jennifer Keith and Claudia Thomas Kairoff, associate editor Jean I. Marsden; and Volume 2: Later Collections, Print and Manuscript, edited by Jennifer Keith and Claudia Thomas Kairoff. The print edition establishes for the first time an accurate record of all known work by Finch that has survived: more than 230 poems (the number varies depending on how one enumerates different versions of some poems), two plays, and letters.

Already available is the open-access Anne Finch Digital Archive, which complements the print edition. Materials on the open-access Anne Finch Digital Archive enable users to explore the archival elements of Finch’s texts. The featured poems on this site have been selected from a great number in Finch’s œuvre to illustrate her work in different poetic kinds, including song, fable, biblical paraphrase, translation, verse epistle, and devotional poetry. For every featured poem, the site includes commentary with embedded links to illustrations, information about composition and printing dates and sources, audio files of the poem read aloud, and source copies showing authorized manuscript and print texts with transcriptions. We will continue to add resources to the site, including recordings of musical performances of the songs featured. The multimedia elements of this site reflect the various ways that Finch’s work engaged her contemporary readers and listeners, who knew her work in manuscript, print, or performance, or in all of these forms.

Writing in an era known for the overtly public and political poetry of John Dryden, Jonathan Swift, and Alexander Pope, Anne Finch, Countess of Winchilsea (1661-1720), articulated a different literary and political authority. From her position as a female aristocrat, once at the center of the court and then for many years a political internal exile, Finch explored the individual’s spiritual condition as inextricable from social and political phenomena. Her interest in affairs of state frequently informed her exposure of patriarchy’s constraints on women and men. Finch’s work participates in the strategies of her contemporaries such as Dryden and Pope—the public speaker who sought to influence state politics, the renovator of classical mythology and pastoral who exposed contemporary mores, the fabulist who satirized state and society, the friend who used the couplet for conversation and exchange, and the wit who made discernment a moral good. But Finch both furthers and deviates from these practices. Readers will discover her innovative use of form and genre to explore a wide range of themes and her complex use of tone to enlist the reader’s discernment and develop a poetics of intimacy.

The edition has received generous support from the National Endowment for the Humanities, the Folger Shakespeare Library, the Women’s Caucus of the American Society for Eighteenth-Century Studies, the William Andrews Clark Memorial Library, the University of North Carolina at Greensboro, and Wake Forest University.

As any reader of The 18th-Century Common knows, the last quarter century has witnessed the astonishing digitization of thousands of texts from the past: novels, poems, essays, histories, plays, many of them available for free. For scholars, the creation of this Digital Republic of Learning has (on the whole) been a boon, enabling new modes of inquiry that could barely have been imagined a generation ago. For students, however, the digitization of the archive has been a more mixed blessing. As newcomers to the field, students can very easily find themselves overwhelmed by the sheer abundance of material that shows up in the simple Google search that is likely to be their first means of access. Students are unlikely to know how to judge of the quality or authenticity of what they find, or to be able to recognize the difference between a well-edited text and something with virtually no authority whatsoever. Texts are haphazardly distributed, some behind commercial paywalls such as Gale’s ECCO collection, while others are in reasonably well-curated but still imperfect archives like Project Gutenberg. Still others seem to have been put together with no thought whatsoever. In keeping with the tendency of the Internet to level the field of information, all such texts come decontextualized in several senses. Rarely are the texts that students or general readers are likely to find annotated to provide the kind of historical contextualization that most readers need to make sense of works from this period. And, too, the fact of digitization decontextualizes all works from the past from the conditions of their production and dissemination; everything looks the same on the screen.

Our projects intend to improve the quality of eighteenth-century texts available for students, general readers, and scholars, and to enlist students in the project of producing them. The Open Anthology of Literature in English aims to build a digital anthology from the ground up, offering digitized texts that have been edited for accuracy and annotated for modern readers. Students are crucial collaborators and makers in this project. Using the TypeWright tool at the 18th Connect project, they can correct the OCR of original texts, and in the process get to see what eighteenth-century print looked like. And they can identify what should be annotated (who knows better than they do what they need in order to make sense of a work from the past?), and then research what they and readers like them need to know. They get to work with TEI/XML, which means that they get to see the digital tools of the twenty-first century print shop. As students complete texts, they become part of a permanent, open-access archive of reliable works, encoded in TEI/XML that is available for the use of teachers who want a place to which they can send their students. Students thus create something that lives on past the term in which they are enrolled in the class, and the community of students and readers get an archive of free and reliable texts that take full advantage of the resources offered by digitization.

Novels in Context is a web-accessible TEI/XML database application focused on a particular moment in literary history. Drawing on the practice of public scholarship, the free code ethos, scholarship around the digital archive and digital edition, and the Open Educational Resources movement, Novels in Context seeks to provide a curated, extensible, searchable, and reusable collection of primary source materials focused on the eighteenth-century English novel. This project is unique not only in its use of database technology and the standardized TEI Simple markup but also in its commitment to the material page–each item is accompanied by quality page images sourced by hand from libraries and special collections. If everything looks the same on the screen, so too in print anthologies, which deracinate the text from its reality in time and space. Without understanding something about how a text or an utterance or a performance comes to be in our purview, agile, contextualized engagement with literature—much less the world at large—is impossible. By involving students in its creation, Novels in Context works to fulfill the promise of feminist pedagogical theory that urges both collaboration and connection, seeing students as critical makers—full, capable partners in the scholarly work of keeping our cultural heritage alive.

While these projects work to improve the quality of digital texts in an open, collaborative, and scalable way, they also speak to another concern with the market-driven tendencies of academic publishing. The construction of a Digital Republic of Learning is and has been underway in myriad forms on the Internet since the 1990s, to be sure, but the past decade has seen a noted rise in the number of corporate fingers in the pot. To be committed to the public goods of education, we need texts and pedagogies that are public and open, but they also need to be critical, rather than affirmative. A user-generated open anthology of the kind we are imagining is a step in this direction. As the eighteenth century teaches us, power in the public sphere is in large part a product of one’s ability to negotiate its social and technical components. Looking toward the eighteenth century, which witnessed its own technological and social revolutions in the dissemination of knowledge, can also be of real use in our current educational context. Knowledge and power, knowledge-power: one of our most salient charges as teachers and scholars today must be to enable the fullest possible participation in public conversation. And when we say “fullest,” we mean it in the broadest sense—rich, responsible, free, purposeful, ethical, capable of enabling new relations of power, new relationships between our present and our past, newly connected selves.

To that end, we seek collaborators on both projects, teachers and students who want to make creating digital editions eighteenth-century texts. We will provide TEI/XML templates and lessons to enable students to become active, critical contributors to the textual commons. Please contact [email protected] or [email protected] to find out how you and your students can join in the task of creating open, curated digital editions of texts from our collective past.

‘The Lady’s Magazine (1770-1818): Understanding the Emergence of a Genre’ is a two-year project funded by the Leverhulme Trust Research Project Grant scheme. The team of academics behind it is based at the University of Kent and is led by Jennie Batchelor, who works closely with the project’s two full-time Postdoctoral Researchers: Koenraad Claes and Jenny DiPlacidi. Our aim is to shed new light on one of the first and longest running women’s magazines of all time.

In an 1840 letter to Hartley Coleridge, Charlotte Brontë wrote that she wished “with all [her] heart” that she “had been born in time to contribute to the Lady’s magazine,” a periodical that ran for 13 issues per annum from more than six decades and had an estimated circulation of 10,000 monthly copies at the height of its popularity. 170 years later the history and cultural and literary importance of a publication, the vast majority of the original content of which was produced by unknown and unpaid reader-contributors, remains undocumented.

Our project fills this significant gap through a detailed bibliographical, statistical and literary-critical analysis of one of the first recognizably modern magazines for women from its inception in 1770 until the launch of its new series in 1818. In its two-pronged book history/literary critical approach, this project sets out to answer three key research questions:

What made the Lady’s Magazine one of the most popular and enduring titles of its day?

What effects might an understanding of the magazine’s content, production, and circulation have upon our conceptions of Romantic-era print culture?

What role did the Lady’s Magazine play in the long-term development of the women’s magazine and the history of women’s writing?

In response to these questions, we are producing an open-access fully annotated, downloadable index of the magazine’s content for its first 50 years, which will launch in September 2016. Titles of articles are accompanied by the names or pseudonyms of their contributors, and their contributors’ status (author, translator, extracter, or pilferer) is given wherever it can be clearly ascertained. Attributions are made where possible. In fact, we are amassing a small but growing body of evidence about a number of regular and mostly unknown contributors to the magazine and their lives or careers beyond its pages. We regularly publish about these discoveries, and many other topics besides, on our project blog.

In addition to illuminating the production and composition of the magazine, we also pay detailed attention to its diverse, text-based contents. Since the titles of articles in the Lady’s Magazine are often misleading (an article purporting to be about women’s dress might make an impassioned plea for reforms in female education, for instance), our index tags content by genre, key stylistic features and prominent keywords (marriage, education, politics, for example) making it easy for readers to find items of particular interest.

We are mining the data we are collating and will be presenting our findings in the form of web, book, and journal articles on attributions, the career profiles of magazine contributors, and statistical and interpretive analyses of the shifting content of the magazine over the course of its long history. Jennie is also in the process of writing a book about the magazine’s place in the Romantic literary marketplace. By making the annotated index of contributor signatures and content analysis freely available online, we also hope to promote further research by scholars and other interested parties on the Lady’s Magazine, late-eighteenth-century periodicals, and authorship and print culture in the period more generally.

One of the greatest joys of the project has been disseminating and talking about our research in progress via our Twitter feed, Facebook page, and blog, all of which are regularly updated. Through social media, we have entered into conversations about the magazine, its diverse content, and the issues it debates and generates with modern-day readers all over the world. Establishing a community of interested parties who felt they had a stake in the publication was vital to the success of the Lady’s Magazine, whose readers and subscribers were also its authors. We like to think that, in a small way, the online community that has grown around the project captures and perpetuates something of the spirit of the magazine itself.

It has certainly been a genuine and generative collaboration that has advanced the project in ways that we could not have anticipated when we began. For instance, Jennie’s happy acquisition of a copy of the periodical from one of our blog’s readers, which contained a number of rare surviving embroidery patterns, led to a flutter of Twitter excitement that snowballed into ‘The Great Lady’s Magazine Stitch Off,’ a non-competitive sewing bee in which dozens of people all over the world have recreated 10 Lady’s Magazine patterns for display at an exhibition at Chawton House Library to commemorate the 200th anniversary of the publication of Jane Austen’s Emma (1816), a novel whose hero and a major plotline are taken from a short story in the Lady’s Magazine.

The Eighteenth-CenturyPoetry Archive (ECPA) is a digital project in support of the teaching, study, and research of the poetry of the long eighteenth century. It comprises a full-text collection of richly-encoded digital texts and a research project that aims to integrate texts and (digital) scholarship into a curated research collection. ECPA is based on the principle of user participation, the corpus is edited and annotated collaboratively, and will grow and evolve with the requirements and interests of its users.

ECPA was originally intended as a way of providing literary and historical context for its sister project, the Thomas Gray Archive, covering the lives and works of contemporaries of Gray’s such as William Collins, Mark Akenside, Joseph and Thomas Warton, Christopher Smart, and James Thomson. As the project evolved and widened in scope, its initial contextual focus shifted to an analytical one.

ECPA builds on the texts created by the Text Creation Partnership (TCP) from Eighteenth Century Collections Online (ECCO). The transcription and encoding has been enriched with additional descriptive (e.g., author attributions on poem level) and analytical markup (e.g., recording verse, stanza, and poem form, assigning of themes and genres, assigning rhyme scheme, assigning metrical pattern, recording of syllable pattern, addition of explanatory/editorial annotations) in support of a computationally assisted close reading process.

As readers engage with texts in different ways and with different objectives, we have modeled these different types of user engagement into distinctive “views” of the text. So far, we have focused on views that support a first reading of a text (“reading” view) and the initial analysis of a text (“analysis” view) in the form of a close reading. Over time, the ECPA research project will enable new modes of engagement and allow for increasingly sophisticated ways of interacting with the texts.

ECPA is currently available in public beta and is in active development. Current developments are concerned with increasing the number of poets and poems represented, and exploring the possibility of including other European languages. We welcome any feedback about issues, feature requests, or general feedback about the content, functionalities, or design of the Website. Please e-mail <[email protected]>.